CONCEPTUAL GUIDELINE FOR ART CREATIVITY
Professor Chalood Nimsamer has been a creator of art during the
transitional period from
the old
traditional age of art to the modern Thai art. He has been interested in
a variety of art forms
and has
produced with his creativity a multiple number of valuable art works
including drawings,
paintings,
sculptures, prints, and mixed media. He strongly believes that art is a
reflection of
the pure
essence of humanity and can be produced for the better humanism of
humankind.
According
to Professor Chalood Nimsamer, all artists consciously express in their
art works
the essence
of humanity from their own perspective in one way or another. Artists
intentionally
use art to
express the human being in different aspects being soul, realistic,
ideological, abstract,
objective,
negative, or positive aspects because art can exhibit the identity of
the artist who produces it.
Artists
also act against or comply with natural and cultural environments.
Professor Chalood Nimsamer
sees that
being human is goodness and that goodness can be expressed through the
beauty.
Goodness
can be love, mercy, sympathy, kindness, and harmlessness among humans
and between
humans and
all other lives. Therefore, the works of art he produced tend to express
goodness, beauty,
peacefulness, and warmth. As he succinctly puts it, forms and stories of
artworks may change in
accordance
with appropriateness and necessity for expressing. However, for him, the
life, which stays
inside and
is the true essence of art, never changes.
The belief embedded in the hearth of artists is the core of creativity,
rendering the reaction and
acceptance
of some aspects of events that cause the inspiration to work. The
inspiration will gradually
lead to the
formation of concepts or goals of creativity. By their nature, artists
often seek forms and
stories
pertinent to their conception to be a starting point in the production
of artworks.
Professor
Chalood Nimsamer’s works of art that have been made since 1953 can be
categorized on
the basis
of his conceptual and formal developments as follows:
Simple and
Subjective Arts (1953-1962)
This set of arts consists of oil color paintings, acrylic and gold
lacquered paintings, prints,
and
sculptures. His early works are realistic art, expressing the Thainess
as represented by stories,
simple
forms and techniques he used. These early phase works are mostly
paintings, representing
traditions,
ceremonies, and ways of life of Thai people in rural areas. He painted
his works using
traditional
Thai style of painting which emphasizes the simple but sensitive forms.
Examples of this
art style
are women in various gestures, local environment, and some activities
traditionally practiced
by rural
people.
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Abstract
Arts (1964-1972)
During this time period saw the influence of general contemporary art
and some life
experiences. Under such circumstance, Professor Chalood Nimsamer had
practiced some experiments
in
abstract art. Since he is gifted in several media, such as painting,
sculpture, graphic art, and mixed
technique, his oeuvre thus vary depending on raw material and methods in
various art forms. However,
his
subjects still remain the same, representing humans, women, and his
experiences in nature.
His
works represent the complex harmony of lines, colors, volume, mass,
surface texture, and materials.
The human
and natural forms are present but not clearly visible in his works. He
shifted his style from
the
emphasis of outer sentimental or emotional representation to the
conceptual configuration.
Poems (1982)
This category is characterized by the mixed media consisting of 50
sheets of the 14x20 cm
drawing paper. Each of the sheets was written with poems using visual
art language that
incorporates lines, colors, and symbolic forms. The sheets were composed
in different positions
and directions similar to certain forms of versification, and were
arranged on string in floating or free
standing manner. The symbolic forms and the composition of these forms
in each sheet were made
to inspire audiences to independently compose poems in their heart,
rather than merely receivers of
message dictated by the poets.
Diaries
(1979-1984)
This is a series of mixed media sculptures made with a variety of
finished materials.
The materials were attached, hung, or piled together in the shape of
desired forms and meanings.
The majority of the materials he used to make such sculptures are paper
written or printed with
statements, general letters he received, copies of letters from
government and private organizations,
memorable photos, drafted drawings, and small paintings. He hung the
materials on colorful nylon
strings and tied them to the round brass plates that are weld as
sculptures. The sculptures are
highly porous and are the record of interesting events of each day
starting from a few things
in early days and when days or years passed by it accumulated more
stuffs or stories. Some things
were removed from the sculptures as they were no longer important. Thus,
this kind of mixed media
sculptures demonstrates that forms are not stable over time. Most of the
subjects of the works exhibit
various concepts that are represented by meaningful materials. They
provide audiences with ideas
about gradual changes in texture and form over time and events.
Rural Sculptures
(1982-1984)
This category exclusively is composed of non-removable or fixed
sculptures and
mixed media sculptures. After having gained some work and teaching
experiences,
Professor Chalood Nimsamer has expanded his scope of ideas about art
execution by shifting
from the search for ideological truth toward the integration of reality
of outside world. He moved
from presenting emotion and feeling through various forms to expressing
more about thoughts.
He also made a major change from the execution of finished and complete
forms to the making of
holistic form in nature. Furthermore, from the sole self-representation,
he went on to express
the necessity to show some aspects of the country, both local and
national. Having seen objects,
tools, daily utensils, as well as used artifacts that were discarded
around domestic areas of
local people during his several visits to the rural areas, he was
inspired and fascinated by the ways
of life of local villagers. He believed that cultural environment was
one of good sources that
we can learn about local people’s everyday life. He therefore brought
those old things from rural
villages to be reconstructed in harmonious way with rural people’s
village life to convey his deep
feeling about the life and soul of rural people of Thailand.
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A Set of
“Daughter” Drawings (1985)
Professor Chalood Nimsamer considers line drawings as diary of concept
and
emotion of life, as well as problem solution and formal development,
acceptance and refusal
to environment and society. In the execution of “Daughter” drawings,
he brought back the women
characters he used in his early works, but women forms in this
particular drawing set are
more realistic. He also applied new technique, from using chalk and gold
lacquer to acrylic.
The color tone was light gray, rather than dark tone. The women’s
feeling and overall character of
the drawings represent adulthood of those who has gone through a period
of life experience.
However, his art concept remains unchanged. Perhaps, what marks the big
difference from
his previous oeuvre in this set of drawings is the repeated appearance
of a form in various time
and the redundancy and progressive development of visual elements that
were made in the forms
of sheets, points, volume and colors scattered all over the pictures.
“Planting
Forests” Series (1992)
This series consists entirely of gold-lacquered tempera paintings. In
making this series
he used the same technique as he did in 1955. As a tree lover, when he
witnessed and knew
about tree cutting and the increasing rate of forest destruction, he was
disappointed and felt sorrow
that he did not have any authority to stop the situation and was unable
do anything to revive the forest.
What he could do about that as an artist was to plant trees in his
imagination in the paintings to show
his personal concerns.
Buddhist Art
Series (Post 1991)
This series includes a wide variety of art types consisting of tempera
paintings on
Sa paper, some acrylic paintings without gold lacquer, sculptures, and
line drawings. In some of
these works, he used mixed media incorporating various materials like
wood, metal, brass, and
cloth in his artworks. He even sometimes practiced Buddhism activities
including meditation, and
contemplating the truth and status of real life and earth. It should be
noted that his Buddhism oeuvre
have different meaning from and have nothing to do with the term
“Buddhism art” generally used by
many artists. For him, Buddhist arts are an art for the sake of Dharma,
rather than the art for art sake.
This art series has its root in Dharma or the Buddha’s teaching, and
once having seen the arts,
one may think about religion, particularly things mentioned in Buddhism
such as heaven, nirvana,
deities, Brahma or sublime, and so on.
The “Down
to Earth” Series (1998)
This is a series of mixed media and sculptures, inspired by the life and
environment
in rural Thailand. He began drawing in the fields by portraying the life
of farmers in the fields,
and after that he experienced rice planting on his own. Upon his return
from the fields, he felt
and absorbed the great of paddy fields and the full-fledge of farming
filled with physical, spiritual
and cultural life. This led to the appreciation that simple life on
earth has equal value to those general
arts that were often exaggerated with high prize as if they are
celestial and highly intellectual.
The purpose of production of this art series was to suggest that art is
not higher thing than other
mundane human activities, and thus wanted to bring it down to earth.
From Professor Chalood Nimsamer’s
point of view, works of art are no longer necessary to be on high
platforms, in frames, or in
luxurious places. With this in mind, he selected some of his previous
works made in different periods,
and then put them on the bear ground, representing his concept that arts
are just like general cheap
goods or products people can buy. In addition, he also made a series of
works about farmers’ kitchen.
The work entitled “Document of Artist in
Countryside” represents his concept and style simulating
a diary in the way he hung his works on strings in the middle of a room,
and mimicking a grocery shop
in rural village where its owner usually hangs goods on ropes or
strings.
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The
“Planting Forests” Series 2 (present)
Tempera and acrylic paintings constitute the majority of this art
series.
The works were virtually made with an inspiration from the production of
“Planting Forest” series 1 in
1992. In 1992, Professor Chalood Nimsamer planted small trees on his
backyard, and 10 years later
the trees have grown big and dense. In this second series he portrayed
himself and surroundings,
making them as if he were in the art and art became part of his
surroundings. The art content shows
relationship and tie among family members, mother, and children in the
middle of nature.
